Daily Objects, 19th-century America

Bibliography
Image Credits

Video One

  • Erastus Salisbury Field, American, 1805-1900, Joseph Moore and His Family, c. 1839, oil on canvas, 109.23 x 237.17 cm (82 3/8 x 93 3/8 in.), Museum of Fine Arts, Boston, Gift of Maxim Karolik for the M. and M. Karolik Collection of American Paintings, 1815-1865, 58.25, Term of use: Life of project, Photograph copyright 2009 Museum of Fine Arts, Boston.
  • Lambert Hitchcock (American, 1795-1852), Side Chair, 1826-1829, Mixed hardwoods, paint, and rush, 33 x 17 3/4 x 20 in. (83.8 x 45.1 x 50.8 cm), Fine Arts Museums of San Francisco, Bequest of Lucy D. Hale, 1990.28.2.

Video Two

  • Erastus Salisbury Field, American, 1805-1900, Joseph Moore and His Family, about 1839, oil on canvas, 109.23 x 237.17 cm (82 3/8 x 93 3/8 in.), Museum of Fine Arts, Boston, Gift of Maxim Karolik for the M. and M. Karolik Collection of American Paintings, 1815-1865, 58.25, Term of use: Life of project, Photograph copyright 2009 Museum of Fine Arts, Boston.
  • Looking glass, American, about 1830-40, Object Place: Connecticut Valley, United States, Mahogany, gilt; glass, H: 37 5/8 in., Museum of Fine Arts, Boston, Gift of Maxim Karolik, RES.58.3, Term of use: Life of project, Photograph copyright 2009 Museum of Fine Arts, Boston.
  • Tie pin, about 1830-40, Object Place: New England, United States, Gold and black enamel, hair, Overall: 2.2 cm (7/8 in.), Museum of Fine Arts, Boston, Gift of Maxim Karolik, RES.58.5, Term of use: Life of project, Photograph copyright 2009 Museum of Fine Arts, Boston.
  • Buckle, about 1830-1840, Object Place: Massachusetts, United States, Mother-of-pearl, Overall: 8.3 cm (3 1/4 in.), Museum of Fine Arts, Boston, Gift of Maxim Karolik, RES.58.7, Term of use: Life of project, Photograph copyright 2009 Museum of Fine Arts, Boston.
  • Brooch, about 1830-50, Object Place: New England, United States, Gold, stone, Overall: 1.9 cm (3/4 in.), Museum of Fine Arts, Boston, Gift of Maxim Karolik, RES.58.6, Term of use: Life of project, Photograph copyright 2009 Museum of Fine Arts, Boston.

Video Three

  • "Across the Continent: Westward the Course of Empire Takes Its Way"; lithograph; hand colored; Currier and Ives (publisher); Ives, J.M. (lithographer); Palmer, F. (Fanny), 1812-1876 (artist), BANC PIC 1963.002: 1530-D. Courtesy of The Bancroft Library, University of California, Berkeley.
  • The Parley, 1903 (oil on canvas), Remington, Frederic (1861-1909) / Museum of Fine Arts, Houston, Texas, USA / Hogg Brothers Collection, Gift of Miss Ima Hogg / The Bridgeman Art Library International.
  • Cottone Auctions
  • Country Home
  • Federalist Antiques
  • Hitchcock Chair Company
  • Larry Miller, Flickr
  • Library of Congress
  • Minneapolis Institute of Arts
  • National Archives and Records Administration
  • New Jersey State Museum
  • Producer's Blog: Currier & Ives
  • Project Gutenberg
  • Style in the Heartland
  • University of Virginia
Video Overview

Historian David Jaffee analyzes three 19th-century objects (a Hitchcock chair, a family portrait, and a lithograph of the West), discussing how they were made, how they were used, and what they can tell us about the past. Jaffee models several historical thinking skills, including:

  • (1) Close reading of the portrait and the lithograph, paying attention to symbols, objects, and other visual clues to understand the images.
  • (2) Attention to key source information, such as the date and artist of the lithograph to highlight the significance of its portrayal of the west through the eyes of easterners.
  • (3) Contrasting the Hitchcock chair as a manufactured object with its use in the portrait as a carefully selected symbol of the family’s wealth and possessions.
  • (4) Examining the larger context of all three objects to connect them with economic, cultural, and social change.
Video Clip Name
David1.mov
David2.mov
David3.mov
Video Clip Title
Hitchcock Chair
Moore Family Portrait
Across the Continent Lithograph
Video Clip Duration
4:14
3:49
5:18
Transcript Text

This is a side chair, meaning it's not an armchair. Doesn't have arms. Much more interestingly, it's a Hitchcock chair. Now, Hitchcock chairs are both known as chairs that were made by the Hitchcock Company or Lambert Hitchcock initially, the entrepreneur in Connecticut. But more significantly they're a certain genre of chair. So lots of different painted chairs of the first half of the 19th century, sort of festooned with lots of cornucopia and sort of gold stenciling, cane seats, were known as Hitchcock chairs. So it's got a larger sort of import because of that.

But it's extremely popular. You can still find lots of these in antique shops.

What I find really interesting about it first of all, is the decoration. And I think that's what it was meant to say. It's a decorated chair, not just a plain, black chair.

What I know from my own prior knowledge of course, is that often painted decoration stands in for sort of other kinds of decoration. In earlier chairs, one would have used rich carving, which takes a lot of experience by the artisan. So here, instead of having rich depth in the carving, we have two things which stand in for that three-dimensionality. We have turnings. This is done on a lathe. These are done—also mass-produced, so that these parts are relatively interchangeable.

So at the same time as these Hitchcock chairs were being mass produced, $1.50 a piece, usually sold in sets, someone like Eli Terry in the Connecticut clock industry is also making cheap shelf clocks by relatively interchangeable parts, so that the gears in the clocks are made all at once and they can be fit into a variety of different clocks. So that obviously is going to cut down on cost.

And also on the skill level for the chair workers assembling the chair. So, much of the work is really done by semi-skilled workers rather than an older style where one person made one chair at a time.

In some chair industries they would have made some parts at the sawmill. They would have then made other parts or assembled them in a shop. And then third, they would have had women and children seating the chairs by hand in homes. And then collected everything together.

So, in the case of Hitchcock's innovation, sort of like the Lowell Mills, is that he did everything together in a factory, which really allowed him great advances in terms of scale—savings by scale.

When you look at the back, on the back of the seat it will say, "Hitchcock warranted." And so it's got a stencil on the back—this is the first entrepreneur to do this—so that they're sort of warranted that if, you know, there's a problem with this, you can sort of return them.

So again it's this assumption, and this is a new stage, that these will be distributed throughout the United States. There will not be a face-to-face encounter between maker and consumer, so that you would need to have this sort of publicized warranty in a way that if you actually knew the craftsman 20 years earlier you wouldn't need that sort of published, stamped warranty.

So what Hitchcock's great idea was to take a bit of this and a bit of that, put it together, push it forward with division of labor, and also extensive marketing, and really produce something that's a prototype of a sort of mass-produced object that bespeaks gentility to a wide section of the American public from top to bottom, and do it at a really low price. And that really is what accounts for the popularity of the chair at the time, and I think also its significance for us to sort of look at and talk about.

It's much easier to talk about the making of these than it is the use of them. So we move from something that's available in antique stores or lots of museums, to a painting which is a singular thing. This one, Erastus Salisbury Field’s Joseph Moore and His Family, about 1839 it was done by Field, is that we can see the Hitchcock chairs in the painting.

So paintings are a good iconographic source of, okay, there are these things made, they now sit in museum collections or private collections. But did anyone care? Did anyone use them? And then second, how did they use them? What kinds of rooms did they appear in? Did they appear in porches, as porch furniture? Did they appear as kitchen seats? Or in this case, did they appear in the parlor, the fanciest room of a house?

So, here we have interestingly enough, there's a family of four children, two adults. Everyone is in black, white and black. The father and the mother are sitting in these Hitchcock chairs. They're very brightly—we can see the cornucopia on Joseph's chair along with the striping on the legs that peers out, so this gives you a sense of the vibrancy when these were new.

There's stenciling on the stand right behind the family. In that case, the stenciling is used along with the mirror that's above them to give the imitation of mahogany, of richer wood. So stenciling can be used also as a means of imitation. So there's lots of this faux décor going on.

Because, again, these middling people are looking on one hand to establish a connection to sort of what was once previously luxurious goods, and so they are using, just like the portrait itself, something that used to be beyond the reach of a middling family.

This is a family dressed in their best. This is not an ordinary experience. This was an exceptional experience.

So we often need to look at, what are the moments in a family's lifecycle when a portrait might be made? Marriage. Death. Addition to the family. So again, these are exceptional moments, and we can sort of trace out the lifecycle.

So, this is in some ways like an inventory. It's an inventory of all the nice things that they've acquired, and actually some of these objects that Elmira's holding in her hand, some of the furniture, these two chairs, are actually passed down from the family with the portrait and exist in the same collection at the Museum of Fine Arts. So, we always sort of wonder about that. Are these things sort of like that the portraitist brought in and gave to the family so they could look fancier? Or actually are they their real possessions? Are they their real clothes? So, here we have I think, the jewelry that she's wearing, has passed along in the family collection, so we know that these adornments are theirs.

And then, I think with students it's really fun to work from, what do you see? What are the different things you see? And I think students can do a good job with that to, what do you think they're used for?

What does it mean? What did this portrait mean to the family that commissioned it? What did it mean to the family that displayed it?

This thing is almost six feet wide. It fills a whole wall at the Museum of Fine Arts. You wouldn't know that from this. It could easily be a miniatu&8212;you know, small. So, that's something you really want to sort of make sure that's in there because something that's six feet would take a lot more time, a lot more money.

Now, what's of course most interesting about this one is its title, "Across the Continent, Westward Course of Empire Takes Its Way." It has all the elements, all the stereotypical elements, of the sort of westward movement. We actually know the engraver, Frances Flora Bond Palmer, she’s a—Fanny Palmer as she was called. She's the most famous Currier & Ives employee, and also was a painter in her own right, as a British immigrant.

When I look at it, I see most—first of all a diagonal. It cuts across the image. And what cuts it across is the railroad. The railroad moves from east to west, from one corner to the other corner, as far as the eye can see, the rails go to this sort of featureless line that is the future.

On one side of the diagonal I see a natural scene. It's a heavily constructed natural scene, but nonetheless it is nature. It has a beautiful series of lakes or waterways that move up to a set of Rockies or whatever. Trees as far as one can see along with more of a prairie landscape.

But, right next to the railroad on the immediate foreground are two Native Americans on horses. They are part of the natural world, which again is a stereotype. Sitting on their horses with their spears pointed, or lances, sort of looking somewhat forlorn. In fact, the plumes of smoke from the railway go in their direction, pretty much sort of cover them. So there is a certain element of disrespect going on, that they are being left in the traces of the railway, left behind.

So that is the past. On the other side of the diagonal is a very different scene. This is civilization. This is a cluster of log cabins in the foreground. One in the foremost—closest to us, is a log cabin with a sign emblazoned on it, "Public School." What is more typical, stands in for civilization for these pioneers, is the public school. The engine of progress. The engine of civilization. Whatever community wanted to set up to proclaim that they were connected, you know, to their past and to their future.

So, the railway sort of cuts across. There are people watching, well dressed, sort of watching the railway. There are men all the way on the left that are hacking out, cutting down, trees. So again, it has this 19th-century—the emblem of progress is stripping away the forest, cutting down the trees. The more stumps, the better. This is not an ecological consciousness; this is a progressive consciousness.

And the fact that it's so stereotypical makes it wonderful to use, because it lays out the formulas. It's expansive in its meaning, and thousands of these were made, and thousands of these went up in people's homes on their walls, framed. So it really has the element of sort of mass produced, mass marketed, even though it's made by hand in many of its elements, and distributed widely, and really speaks for these tropes of American memory. What the past is, but more importantly, what the future might be.

The trick I think, with the Fanny Palmer, is of course to teach this as a heavily symbolic image made by an Eastern establishment, rather than a representation of pioneer activity. Almost all the images we have of the West, and this goes through the 19th-century Frederick Remington or others, are made by Easterners. And that's a question itself. So, was this something that—you know, why would someone have wanted to own this? Even better yet, what would someone think about going west if they saw this? Would this make it attractive? Probably, yes, actually, because the Indians are off on one side, civilization's on the other. There are public schools. This looks like, you know, real progress is going on. It's a fairly safe environment.

Now, when we read women's letters at the same time, from the Illinois prairie or from the Oregon or whatever, we often get much more discordant notes about isolation. So, instead of the social thickness of ties here that are easily reproducible and make it attractive for men and women, these women write about the fact that they've lost their friends. Nearest settlement is—nearest farmhouse is three miles away. And maybe only on Sundays, or the men go into town to do business, but they stay home with their ever-increasing family.

Beyond Face Value: Depictions of Slavery in Confederate Currency

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Funded by the Louisiana Endowment for the Humanities as a project of the U.S. Civil War Center at Louisiana State University, this exhibit focuses on depictions of slaves on Confederate currency. The project treats currency as a way to interpret the culture and identity of the southern people during the Civil War. The site offers over 70 images of Confederate Currency printed by individual southern states and provides roughly 500-word narratives of the general history and economic environment of the Confederate states as background to the interpretation of the images. The images are grouped both by state of origin and thematically, in seven categories that describe the kinds of activities that slaves are depicted performing on the money: Individuals with Cotton; Individuals with Assorted Tasks; Field Scenes; Stylistic Scenes; Post-Civil War Scenes; Sugar Plantations; and Transportation. There are 15-20 word captions with each image describing the currency on which the image appeared. There is a list of ten Web links and a bibliography of over 50 scholarly books and articles on the Confederate economy and currency. This site is useful for researching the economic history of the southern states as well as for learning about southern identity during the Civil War.

African American Sheet Music, 1850-1920

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This collection presents 1,305 pieces of sheet music composed by and about African Americans, ranging chronologically from antebellum minstrel shows to early 20th-century African-American musical comedies. Includes works by renowned black composers and lyricists, such as James A. Bland, Will Marion Cook, Paul Laurence Dunbar, Bert Williams, George Walker, Alex Rogers, Jesse A. Shipp, Bob Cole, James Weldon Johnson, J. Rosamond Johnson, James Reese Europe, and Eubie Blake. A "Special Presentation: The Development of an African-American Musical Theatre, 1865-1910" provides a chronological overview that allows users to explore "the emergence of African-American performers and musical troupes, first in blackface minstrelsy, and later at the beginnings of the African-American musical stage in the late 1890s."

In addition, sheet music can be studied to examine racial depictions, both visually, on sheet music covers, and in lyrics; styles of music, such as ragtime, jazz, and spirituals; and a variety of topics of interest to popular audiences, including gender relations, urbanization, and wars. Includes a useful 80-title bibliography and 15-title discography. Much of the material is disturbing due to its heavy dependence on racial caricatures; however, students can gain insight into racial attitudes through an informed use of this site.

Impeachment Trial of Andrew Johnson

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In 1868, President Andrew Johnson was impeached for violating the Tenure of Office Act (1867), which prohibited a president from unilaterally removing any officials for whom Senate approval was required for appointment. Part of Professor Douglas Linder's Famous American Trials website, this exhibit examines Johnson's impeachment trial and his narrow escape from conviction and removal from office. Linder provides a 1500-word account of the trial and includes a chronology of events in Johnson's presidency, from his election as Abraham Lincoln's vice president in 1864 to his death in 1875. The site includes background information on the process of impeachment, such as the relevant articles of the United States Constitution and James Madison's notes on the framers' Constitutional Convention debates over the impeachment process.

The site also includes full-text verions of the Articles of Impeachment against Johnson, the Senate's rules of procedure for the impeachment trial, and the Senate trial record, including all arguments, documentary evidence, testimony, and the final vote. There are also excerpts from the Congressional Globe of the opinions of six senators, both for and against impeachment, and a map that shows the regional splits in the votes for and against impeachment. The site also provides links to the Harper's Weekly account of the trial, including biographies of 28 key figures in the trial, 90 editorials, 47 news articles and briefs, 47 illustrations, 27 political cartoons, and one illustrated satire. A brief bibliography includes six scholarly books, one video, and two internet sites with information on the Johnson impeachment trial. The Harper's Weekly section also provides a link to a "Teaching Impeachment" exercise in which students can simulate an impeachment trial. This rather complicated role play exercise requires considerable research and strong analytical skills, but would be accessible for very advanced high school and survey classes. This is an ideal site for researching constitutional history, Reconstruction, and the presidency.

Virginia Historical Society

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Since 1831, the Virginia Historical Society has been collecting materials documenting the lives of Virginians. This website provides information for researchers and the broader public interested in visiting the Society's headquarters in Richmond, including a collections catalog, finding guides to specific collections, and information about physical exhibitions. The website also includes significant digital holdings. While only five percent of the collection has been digitized, this represents more than 5,000 items, grouped into 14 digital collections. These collections include maps, drawings, paintings, postcards, prints and engravings, 19th century photography, as well as topical collections on African Americans, the Civil War, the Retreat Hospital in Richmond, Virginia's manufacturing of arms, the 1852 Virginia General Assembly Composite Portrait, the Reynolds Metal Company (forthcoming), the Garden Club of Virginia (forthcoming), and selections from the Society's ongoing exhibition, The Story of Virginia. The entire collections catalog is keyword searchable, and includes an option to limit the search to digitized materials.

National Park Service, Teaching with Historic Places

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This useful site offers properties listed in the National Park Service's National Register of Historic Places as teaching tools for history, social studies, geography, or civics classes. It contains more than 75 "classroom ready" lesson plans that include maps, primary source readings, photographs and other images, discussion questions, activities, and projects.

The lesson plans can be browsed by location, theme, and time period, and all are based on sites listed in the National Register. The lesson plans are also arranged by featured topics for popular classroom subjects like Native Americans, women, the Civil War, and maritime history. For example, there are lesson plans for teaching Civil War and civilian memory using the Battle of Prairie Grove, Arkansas, and a plan for teaching about maritime history using the Fort Hancock site along the New York coast.

The plans cover all time periods in American history, but the site is particularly strong from the Civil War through the Civil Rights movement. An author's packet shows teachers how to devise new lesson plans using National Park Service properties. A "Professional Development" section offers a list of upcoming workshops and presentations as well as a bibliography of more than 150 National Park Service and other publications on teaching history with historic sites. Though the lesson plans are geared toward middle school students, they are easily adaptable to high school or college survey courses. This site is ideal for teachers looking for creative ways to bring historic sites into the classroom.

U.S. Electoral College

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Basic statistical data and explanatory material on the workings of the Electoral College, provided by the Federal office that coordinates its operations. Data includes electoral and popular vote totals for presidential elections since 1789; listings by state of electoral college members for 1992-2000; facsimiles of certificates of ascertainment and certificates of votes for the 2000 election; and a digest of current state laws and requirements. Also offers a 2,700-word procedural guide; relevant federal law provisions; a 1,600-word description of state responsibilities; and 10 links to additional National Archives sites of relevance. A quick and easy way to locate vote tallies and legal information regarding the institution of the Electoral College.

Wet With Blood: The Investigation of Mary Todd Lincoln's Cloak

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Visitors to this site are invited to learn about the assassination of Abraham Lincoln primarily through artifacts and relics in the collection of the Chicago Historical Society. More than 100 images of artifacts, documents, photographs, and lithographs, in addition to more than 50 quotes from contemporary testimonies, illustrate how examination of a variety of types of evidence can help to illuminate events from the past. In addition, the site presents the story of Charles Gunther, a Chicago confectioner who purchased a Richmond prisoner-of-war camp and reconstructed it in Chicago in order to display his growing collection of Americana, which the Society acquired upon his death. The site also includes two videos on techniques of examining material evidence; audio recordings of tunes from the period and a musical tribute to Lincoln that was performed at his Chicago funeral; a registry of 29 Lincoln relics in the Society's collection; a glossary of 11 technical and historical terms; a bibliography of more than 130 published sources; listings for 28 related sites; and a virtual tour of the Society's Conservation Laboratory. Of interest to students of the Lincoln assassination, the history of museums and Americana collectors, and to those intrigued by the use of material culture to help answer questions about the past.

U.S. Senate Historical Office

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This collection of essays about the history of the U.S. Senate begins with a brief overview (900 words). More than 140 "historical minutes" (300 words) discuss interesting events in the Senate from 1789 to 1980. Events include the caning of Charles Sumner in 1856, the 1914 ban on smoking in the Senate chamber, and a 1935 Huey Long filibuster. The complete texts of 15 oral histories, of 40 to 700 pages, of retired senators and Senate staff members are available and 15 others may be ordered. The oral histories cover 1910 to 1984 and deal with a wide range of issues, including the desegregation of the staff, the McCarthy hearings, preparations to impeach Nixon, rhetorical rules of debate, and the impact of computers on the work of the senate. Staff members include pages, the Sergeant at Arms, aides, administrative assistants, and the first African-American Government Documents Clerk. A collection of 26 essays (500 to 3000 words) discuss Senate procedure, leadership, officers of the Senate, and general information, such as the development of the oath of office. Other essays include 2,400 words on the president pro-tempore and a 1,300 word essay on the 1959 committee, chaired by John F. Kennedy, that designated the five most outstanding senators in American history.

The site also includes a section of frequently asked questions about the Senate and links to a directory that provides a 150-word biography of every senator and vice president as well as many congress people and staff members. Statistics about majority and minority leaders and the practice of switching parties are also provided. The minutes of Senate Republican Conferences from 1911 to 1964 and Senate Democratic Conferences from 1903 to 1964 are available in their entirety. Visitors may also read the full texts of eight lectures given by statesmen, such as George Bush and Senator Robert C. Byrd as part of the Leaders Lectures series established in 1988 by Trent Lott. The site is easy to navigate and will be useful for research in the history of American political institutions.

The African American Odyssey: A Quest for Full Citizenship

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More than 240 items dealing with African-American history from collections of the Library of Congress, including books, government documents, manuscripts, maps, musical scores, plays, films, and recordings. The exhibition explores black America's quest for political, social, and economic equality from slavery through the mid-20th century. Organized into nine chronological periods covering the following topics: slavery; free blacks in the antebellum period; antislavery movements; the Civil War and African-American participation in the military; Reconstruction political struggles, black exodus from the South, and activism in the black church; the "Booker T. Washington era" of progress in the creation of educational and political institutions during a period of violent backlash; World War I and the postwar period, including the rise of the Harlem Renaissance; the Depression, New Deal, and World War II; and the Civil Rights era. Each section includes a 500-word overview and annotations of 100 words in length for each object displayed. In addition to documenting the struggle for freedom and civil rights, the exhibit includes celebratory material on contributions of artists, writers, performers, and sports figures. Valuable for students and teachers looking for a well-written and documented guide for exploring African-American history.